Arriving to amazing sunshine for the early entry portion of 2000 Trees' fifth birthday, it was a little difficult to know what to expect. Sometimes the way with early entry at festivals is to have bands who have nothing better to do, though I think everyone's come to expect that nothing is done by halves here.

I walked into 2000 Trees' Beta Venue, The Cave just as an impossibly handsome and surprisingly brilliant four piece by the name of The Echoes were being introduced as The Echo-Echo-Echoes. The band chosen to christen the venue on its maiden trees.

The back and forth male vocals were striking in revelry inducing opener "shotgun" and, though this element is toned down as either vocalist take the lead on their own tracks, it remains their core as the set proceeds at a misleadingly professional level.

These four have been ever presents at the festival since its inception, though this is the first time they're actually playing it. There were a few technical difficulties later on but this was quickly forgotten as they launched back into their Rocket Sumer meets Gaslight Anthem pastiche.

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Alot of the talk in between the opening acts was how different it seemed from previous years. Indeed, the area The Cave was in was home to toilets and tents last year. Surely an improvement?

As you venture out you see the familiar sight of Suzy's burger van and further on, The Leaf Lounge and from then on everything becomes comfortingly familiar. Of course the changes are improvements but nothing's been replaced they are merely fantastic additions. There's still just as many tents and award winning toilets!

Unless you are aware of OST's brand of stadium filling sounds, it's a bit difficult to know what to expect; they don't give much away.

Their rhythmic guitars, keys and ethereal vocals come in to the crowd's chorus of OST-OST-OST and a, shall we say- modest mosh pit. If anything, this band's sound shows the standard that the organisers put into every hour of this festival, seriously- judging by this anthemic and tightly wound performance, not too many eyebrows would have been raised had they been on the mainstage this weekend.

Silversun Pickups would be the best comparison for these first and second city boys. Soundscapes worthy of a Mogwai with fittingly styled vocals. Their blinking keys entwined with the twinkling guitars, it's easy to forget about the heat or the forecast rain and get lost in the melody.

Kill it Kid came onto some sort of retro soundbyte, these are placed throughout their set and do fill any awkward silences.

Certainly touches of 2005-2007 indie rock, Boy Kill Boy and iForward Russia! come to mind. Guitar and bass in tadem, lyrically it doesn't cut too deep but the vocals from Stephanie Ward does set them aside and move them into borderline goth rock territory when the bass gets deeper and Ward's vocalisation gets darker. When they strike up "In My Blood" with stalking B-movie keys and bass it's where they find their niche. Strained, screaming guitars and threatening, desperate vocals they create a unique atmosphere.

Their set is dramatic without being theatrical. Lead singer Chris Turpin wouldn't look out of place in the 90's grunge movement but his voice and delivery is very much in the now.

The times where Stephanie takes the lead and Chris underscores are the real highlights, like on penultimate track "Dirty Water" which was just a truly breathtaking performance. Effortlesssly impassioned vocals showcasing a pretty serious range.

Once more 2000 Trees is declared as this band's favourite festival, it's a walk!

The hardcore elements of Crazy Arm are irresistable and merged with their undeniabley country foundations they make for an interesting and compelling set.

One of Frank Turner's favourite bands, these south west punk-folk-hardcorers have become mainstays of the festival and along with Jim Lockey and the Solemn Sun are playing two sets this weekend (one acoustic).

A guest appearence was suggested halfway through the set, before "Tribes", perfect for turner surely? Nah, I'll shut up about that. The actual guest appearence was from Victoria Butterfield, as pictured above.

Closing with "One Horse Town" they echoed the sentiments of the other early arrivals; the fortune of the 3,500 spirits converging in these fields who are in for one hell of a weekend.

I listened to the first 10 minutes of these overtly labelled "post-rockers" from the trunk of my car, laden with duvets, pillows and home comforts. While it was, as Martine McCutcheoen declared last time I heard from her, a perfect moment I felt this might have been a little dismissive of the powerhouse that is MaybeSheWill.

I'd love to say they're anything but post-rock as this label tends to put people of, however this is the music that they play and they do do it well.

While the sun was thinking of calling it a day, most of the early dayers were having their faces melted with heavy, yet sumptuous riffs. If you're into dripping, wordless rock they're probably in the top 5 in the business and, to their credit, they've done it all themselves- self produced and self promoted, you have to respect that these days.

There's a lot of assurances you get at 2000 Trees, one of them is being captivated by the folk rock of local scene heroes Jim Lockey and the Solemn Sun on at least a couple of occasions.

In front of the largest crowd of the day friends, families and fans sang along as the band played classics from their debut abum 'Atlases' as well as soon to be classics from future releases. Constant touring and not conforming to the traditional one show per festival/night/show has crafted them into a well honed machine. A likeable one too.

I'll go into more detail in their next set, let's just say it was a pleasure seeing them tonight and it will be again tomorrow...

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The very nature of 2000 Trees means it is not just about the (amazing) music. Food and Comedy are two of the other elements that make up the glorious hole. And while we have Toss tomorrow (more on him later...) sometimes you need a laugh.

Horse and Louis were down at the greenhouse stage having their Flight of the Concordes musical sketch comedy well received. My gran would hate this. I lolled.

The weather had some sort of split personality disorder this morning; cloudy then sunny, freezing then sweltering. To be fair if I was the weather I'd mess people about the same way- Sun! Snow! Thunder! Rainbow balls of light!... Anyway this resulted in the congregation dressing half like they were appearing in a Nelly video and half like my Grandma.

The Scheduling for 12pm was likely to result in a 25% attendance for all 4 stages. A master stroke. However, I was never going to be anywhere apart from the leaf lounge for The Momeraths, that is to say- the gorgeous sound of The Momeraths. Well- and Toss.

Toss is a powerhouse of a compere, he keeps going non-stop for 2 days with his genuinely funny and amazingly on the spot observations, references and intelligent humour. Though he can't shake off the references to Eddie Izzard (he bears a striking resemblance and has a similar timbre), his style is much less divisive. Like I could happily stay in the Leaf lounge all weekend, and he regularly suggests you do this, but Izzard you'd have to or you wouldn't know what he was on about.

As it is, you dip in and out regularly, coming back to the heart of the festival for a spirit lift. He remains original and unrepetive, despite having a few gems he comes back to on occasions. A genuinely likeable and enjoyable compere who has a great sense of who to pick out and who not to, like if you don't want the attention, you won't get it. How he keeps it up I don't know but make sure you take some time out to appreciate the phenomenon that is Toss.

It turns out that The Momeraths are no more. Well they are but now they are Young Romance, a 3-piece from Kingston (where they played the night before this noon slot), though the name is the only thing that's really changed their sound is as verdent as ever.

A brave and completely naked display (not literally) from the newly named trio, Claire Heywood was the focal point with snares and high hat amplified only to underscore her fragilly honest vocals which are often accompanied by Paolo Ruiu and it makes for something quite captivating.

They're a more well rounded Allo Darlin with subtance wrapped around fundamentally sublime vocals and twee instrumentation. Glorious start to the day.

A blissful wait at the mainstage in the incredible sunshine for Oxford's Dive Dive. A band a lot of people here will have seen without their lead singer. Here Jamie Stuart is a welcome change of pace up front, really shredding and bringing an Americana style to a weekend dominated by British artists, not that he isn't one. The clarity of his vocals are vital to the balance of the band's sound as it would be easy to get lost in some pretty pristine hardcore sounds.

The other remarkable thing about Dive Dive is each members' command of their instrument, it makes for an intricately well crafted punk sound. They really are brilliant, hopefully they'll be sticking to their day job for a more concentrated period over the next year.

I don't often promise artists I'll go and see them but as I was already going to see Bristol's very own oxygen thief- Oxygen Thief, I figured I may as well.

I'd like to reserve the label "inspirational" for Scroobius Pip later on but for one man to bring this sound is just that.

It's his 200th gig and a lot of people here seem to know to know what's in store and, thanks to his Zombie Lane neighbour (add me- http://facebook.com/outroversion Oo) we are all well prepared.

Kicking off with "Party Hard", a scene setting anthem and followed by an empassioned display for "Modesty is Dead" with great lyrics like "if patience is a virtue, what's the point in urgency?" a fiery showing with warping guitar and anyone who wasn't paying total attention to this guy now was.

All sing-along and clap-along, this is a good, unique time. Filled with stories and incident such as spilling beer over his pedals half way through a song and having to "Michael Winslow" his way through the effects.

I don't know if all his sets are this action packed but judging by the reactions from those that know him, it is. A great, great time.

Taking the chance to get further acquainted with JLSS you begin to notice just how good the lyricism is.

From heartbreaking "Waitress" to new song "O Holy Magda" the lyrical potency is exceptional. Where they've got it spot on is they're fantastic just to listen to but you know there's always something more to be gained frm seeing them one more time.

It's hard to pick a moment but title track from their debut album "Atlases" is arguabley the highlight, it is a bit perfect. They'll close the festival with this one day.

I didn't know much about The King Blues prior to the build up to the festival, to be honest I'd assumed they were a metal band (I... don't know why). As it turns out they are the perfect warm up for Scroobius Pip's first festival headlining.

The only reason I was aware of them was seeing their name on posters at various venues around the country and it's thanks to this relentless schedule that they've built up such an immense fanbase.

Inbetween stories of writing letters to the Daily Mail and to Robson & Jerome, their devoted fans shouted the lyrics from various songs from their first three albums back at the punk outfit. There's some serious sing along moments and Jamie Jazz brings his daughter on for a number and even not knowing the band you could tell this was a pretty sweet moment for everyone involved.

This is a group that is all about the music and that's great to see. Itch's wordplay was the perfect warm up for the main event.

The guys have taking most of this year off from gigging with Scroobius Pip focusing on his solo spoken word projects, up coming album and on Millwall FC.

The feel of the set had the feel of a club or rave, which I would hate- however these guys seem to have a way of getting you in the mood! Choosing at will from first two albums Angles & Logic of Chance they held this crowd and whipped them into hysteria with legendary anthems "Thou Shalt Always Kill" and "Beat that my Heart Skipped" getting the same rapturous response as more intricate creations such as periodic table referencing "Development" and Dizee Rascal sampling "Fixed". Swigging from a bottle of red wine Scroobius Pip revelled in this moment by not taking a breath, pumelling the audience with song after brilliantly crafted song.

Despite finding Scroobius Pip to be a huge inspiration over the past few years, there are so many great spoken word artists around and he is undoubtedly the godfather, it would be rude to gloss over the importance of Dan Le Sac to this act. His labyrthinthial beats lay a solid gold foundation for Pip's words and turn thought provoking word play into mammoth club tracks. And you don't need to be a fan of both to appreciate the other constituent.

Relevant and poignant, euphoric and banging they had everything and gave it everything. It's hard not to feel humbled.

Times they are a changing for sure. Everyones favourite off the beaten track festival returned bigger and better than ever. For a festival that has always been a familiar and comforting occasion with the only surprises being on the always mind blowing line up, there has been an air of mystery over proceedings this year. New stages, more fields, a cinema, fine dining, an extra day and the main stage moving to Steventons Natural Ampitheatre; all this sounded amazing but oh so tantalisingly ambiguous!

The most important thing is undoubtedly the music but rather than turning up and being able find everything in your sleep/stupour, theres a whole load of new dimensions to attract and intrigue.

We were there for the full three days to completely immerse ourselves in the experience of the jewel in Oxfordshire's musical crown, Truck 14.

One of my highest anticipated acts of the weekend was also one of the earliest. It gave us the chance to see the new location for the mainstage which is now located in Steventon's aforementioned natural ampitheatre, it's about a 20 second walk from the old one- relax ;)

An understated and apologetic mid afternoon set from Mark Christopher Grassick's London based midwestern revivalists. Their wounding sound brought back memories of Fionn Regan at last years festival. Unashamed and honest music with beauty pouring from the wonderful lyrics, there's no way this feels like 4pm. They convert the mild and bright outdoors to a dusty saloon at midnight in Texas.

Getting the Last.fm tent moving, Oxford's Mr Shaodow. Flanked by hype man ABIADE and DJs Amz and Watchcase he chooses to start off proceedings with "Look out, there's a black man coming". An energetic showing which is nothing less than expected from what seems to be a fairly hardcore following. Mascara streaming from those in the front row, the words and his name are screamed out in "That's MR Shaodow" while the tent becomes increasingly crammed and increasingly smoke filled.

"Hustle Smart" keeps the place rocking with Shaodow spitting with unbelievable speed and potency. Showcasing his athletic prowess as well as lyrical dexterity he makes this, probably 200 person audience, feel like they're in a packed nightclub. It's one of those moments where you walk outside and are dissapointed to see sunlight.

Shaodow creates a unique atmospheric bubble, nothing outside could come close to suggesting the revelry inside.

Our first visit to the Clash Stage, which hosts artists from a different label each day, sees friends of Camera Obscura Peggy Sue who are signed to Transgressive.

Softly and mournfully the tone is set with an ambling beat accompanied by fragile and straining vocals. Having replaced Dry The River in good time it's easily apparent everyone here is here for them. Reminiscent of the artificial mire of Dear Reader and using rhythm from the bass and drums to the same great effect ,the tempo switches up and down while keeping the feel just as languid.

They have single Cut my Teeth out now from their second album which is available in September.

Consistantly hooded frontman Joe Wallis spearheads the attack with pulsating energy attacking either side of him and intricate, puzzle like drums thrusting from behind. That sounded weird but wait until you hear it live.

They've only been together a year and a half and played here like they were headlining, you get the impression they'll be a few more steps closer to such billing in another years' time.

Having seen Little Fish in their usual guise over half a dozen times now and having seen them on all the logical stages here at Truck, we're more than qualified to judge the fresh dynamic that comes from taking the drums and electrics out of the equation here in the Cabaret Tent, the home of many a hidden gem this weekend.

Two thirds of the band are here today, Juju Sophie armed only with an acoustic guitar and her sirensque pipes with Ben Walker and his Hammond. The afternoon seemed to be thinking of turning into evening and Truck was thinking about getting down to the serious business of rocking out.

The absence of percussion and the leading lady's shredding only really meant the temperature and amount of sweat we've become accustomed to at their shows was toned down, otherwise it was just as passionate a performance as we've come to expect from these OX4 leviathans.

Charming and familiar the husband and wife folk duo filled their set with enlightening stories inbetween songs from their debut and upcoming albums including tales of generous arcade machines and their own inadvertantly offensive brand of merchandise.

It was during their set that it was confirmed that Amy Winehouse had passed away. They were playing their sumblime 2010 track "England" at the time, a sombre moment.

"Your grace and your beauty is real to me, straight from a story book i'm told."

As enigmatic a performer that you will ever find. Dressed in a NASA emblazoned shirt and sharp suit, neither of which being weather appropatiate (It's getting stupid hot now..) Thomas Truax is surrounded by his own inventions with which he is about to open people's minds. Fortunately, ours and other Truckers here are already familiar having witnessed his not of this world personality and unique approach to artistry last year.

As with his previou appearence he begins the journey with the "Hornicator" accompanied "Aliens have kidnapped our Nicole Kidman". His drummer, "Mother Superior" then makes her prescence known on "A notice of eviction to a closet full of skeletons". While the act is spellbinding it's also interesting to watch audience member's reactions; while there could be an Andy Kauffman type 'Is he serious?' response he gets the mesmerised approval that is hard to deny him.

He left the venue half way through having grown weary of the confines placed upon him by technology and festival conventions to play for a new audience in the campsite. dumbfounding his evermore adoring original spectators. He returned and put on a finale just for us-

Displaying the kind of improvisation that comes with his wealth of experience, he went on to enchant the audience with "the stringulator". I hadn't seen this invention in action beore, a complex concoction of drum, tubing, strings and wires- as complicated to play as it is to describe; it sounds as wonderfully insane as you could imagine.

Last time they did they were on the cusp of their first album proper, Outroversion acclaimed "Voices of animals and men" with only a mini album to their name "... Are Dead" and while on the mainstage, it wasn't as the sun was setting on the Saturday. There was no twitter, no facebook, myspace was cool, Arctic Monkeys were in their infancy and we were all five years younger than we are now :(

Here in 2011, with the technological advances, half a decade older and with 2 more albums under their belt, The Young Knives bring it home. While 2008's Superabundance was considered a little patchy, its better moments fill the gaps in a "voices..." and "Ornaments from the silver arcade" heavy set and it makes for a storming show.

Henry, House of Lords and Oliver are constants, up until this year very little had changed in their music but their newest album seems to have been an experiement where everything turned out right and here everyone is into it whether they knew the material before or not.

The highly anticipated Truck debut of Alessi's Ark is an engaging and endearing one. Between songs her conversation was fresh and awkward which was in incredible contrast to her professional and presciently soulful performances.

Her elocution is fascinating, as if these beautiful words are escaping her sould and forcing themselves out of her mouth in any way they can. The composure of her performance comes from the kind of belief that comes from such profound and intricately crafted creations.

Having presumabley stayed the night, Little Fish return to the spotlight looking a little more like everyone else.

Less screamy but just as fervent, Julia shows the true range of her vocals here. A harmonica volunteered by an audience member replaces Ben's broken keys in the intimate setting of the Truck tent. There's just as much conversation as there is music, we learn about their songwriting process and the life of a 'between records' band.

They start releasing music again at the end of December and they'll have a lot more reasons to be at festivals next summer but hopefully that won't stop them coming back here.

Reading's Pete and the Pirates are up next in the Truck tent. Looking unusually unshaven, leader of the gang Tom Sanders looks almost unrecognisable in a polo shirt with unkempt hair and completely bowtieless!

Sometimes a band's sound acoustically transfers seamlessly and while the same brilliant tracks, stripped down they are soooo different. Even fighting with nearby mainstager "Johnny" for noise space and without their full band bassist thier songs keep the attention of an audience at ages of both extremes.

It's hard to have more fun at a gig than you do when witnessing Pete and Pirates. Though their new album is a little more downbeat than their debut, it really goes unnoticed as it is just purely a great time.

As an ensemble the music blends together perfectly but individually they're all brilliant musicians.

Frontman Tom, sharply attired in wristband matching red and gold shirt, postures and performs to the audience with the effrontery of Brandon Flowers with his efféte vocals controlled and deliberate.

Pete Cattermoul pounds the bass with resounding accuracy. Now, I think he looks like Danny Wallace. No one agrees with me. I don't understand how no one else sees it?! Great bassist and guitarist none the less.

Swirling underscoring from the guitars and driving rhythm from the drums, irresistable grooves.

Their performance was perfect to the point that we left after their set. The goodbye is always the hardest part about the festival and this was the perfect memory to finish on. A band that encompasses everything Truck festival is about.

In only its second year of inception, Supernormal has already crafted a highly respectable reputation in the crowded summer music calendar. It's already been named 17th best festival worlwide by the Independent. Quite the accolade.

The devil of the details is often lost on festivals blinded by their ascension and there will be no shortage of them in sprawling countryside of the artists' retreat that is the estate of Oxford's Brazier's park.

Established in the summer of 2010 as part of the 15 year strong Brazier International Artists Workshops in the final week with an exclusive audience of just 500 much in same vein of this year with debates, international film screenings, artistry, curiosities, music and abstract creations and performance from the most remarkable corners of the mind and world.

The bands and artists at the festival are on their way up and performing for the love of it. The fans are there without hemorrhaging their bank accounts and it makes for a unique and unparalelled atmosphere.

A limited number of tickets are available at £55 right now, though the festival is completely non-profit all festivals need to sell tickets to keep going. This is a great opportunity to support a burgeoning music festival in its infancy and say you were there from the start.Get them here.

The return of Kate Jackson to the indie rock world has been highly anticipated for a number of years now. Teases like untraceable demos appearing under the name "Madame Ray" on last.fm, appearing with the wolfmen and the odd tweet under the same name did give cause for hope.

However there has been much activity lately under the title "Kate Jackson Group" with her return to live music, the release of demos on her soundcloud and myspace and ultimately- her first single. Date with Dawn is available for free here, but only for the first 1000 visitors so get in there now.

The new tracks are where Kate seemed to feel more at home with hugely missed Long Blondes, the full figured and 50's homaging of "Couples" is nearer to this than the cream of "Someone to drive you home".

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Alot's happened within the Chili Peppers' world since Stadium Arcadium, children, departures, piano lessons... but it's what's been happening in their followers' lives that makes I'm With You all the more highly anticipated. 5 years is a loooong time; if life for you today is anything like it was in the summer of 2006 you're probably in the need of a shake up. This album marks how far you and the band have come but the familiarity of Anthony Kiedis' vocals, Flea's bass and Chad Smith's drumming which seems to be more key than ever here.

It might be glib not to mention the impact that the departure of John Frusciante will have on the new album. However, I never liked his girly vocals and his elongated guitar playing is probably the reason this CD is a single disc album. If it means no more 10-minute instrumental jams live and being able to listen to their future releases in stereo without him whining in my left ear then good riddance. This is merely my opinion. To the music!

Quite strangely the album starts off with some experimental noise on Monarchy of Roses, kinda like the sound of a band picking up their instruments and knocking them about a bit before they get going. Anthony opens up with distorted vocals as he delivers his first sermon to the faithful with the typically styled "The crimson tide is flowing through your fingers as you sleep // The promise of a clean regime are promises we keep". This could easily be the next single. While Flea's bass playing is the usual slap happy genius that we've come to expected it is Chad's drumming that keeps the heart beating stronger than it might have were there more guitar to contend with. Early signs are that Josh Klinghoffer slots perfectly into the ensemble and remedies elements that weren't as solid as they should have been in the last decade.

The closest comparison to the past for this album is definitely By The Way, it ranges from the radio friendly to the fan pleasing to some serious soul baring from the frontman on tracks like the ballad like trilogy of Brendan's Death Song (Like I said, you know I'm almost Dead), Ethiopia (When I lie there wide awake for my son I made- Tell my boy I love him) and Annie Wants a Baby. These are the more mellow moments of the album and as the intention seems to be playing the whole album on the upcoming tour and these will offer some welcome respite from what is always a body battering few hours.

First single Raindance Maggie was repeatedly described as "a grower" upon its arrival in the digital world. I didn't buy that. It wasn't Dani California, it wasn't By The Way and a few more listens couldn't change that. Anyway after a few listens I realised just how brilliant a track this is! It's so funky that the actual lyrics are almost irrelevant and in reality they're kinda nonsense which is what Mr. Kiedis is best at and we love him for that. He knows how to bring a good time for sure and that's all this song is for, just chill out and enjoy it!

Raindance Maggie makes it to the final, who knew she had the goods? ;)

Happiness Loves Company is just fantastic. Right out of the By The Way school of songwriting it harks back to Tear in its upbeat feel and Can't Stop when the swan gets into his flow. His lyrics here are just quintessentially Pepperish, some of it reminiscent of the frankly bonkers lyricism of All Around The World or Readymade and seriously- just as brilliant as the former. It's also where we get to hear how Flea's piano lessons have been going and it gives it a Wet Sand type gloss to what is likely to be a fan favourite but unlikely to be a single and those are the best ones right!

You know when AK raps? Well Even You, Brutus- while in that vibe- kinda takes that to another level. This is as close to a rap track that they've come to since the intro to Nevermind (Now they call me the swan cos I wave my magic wand and I love all the ladies to death) it's similar to Love Rollercoaster and Storm in a Teacup flow wise but chills out after a little while letting the chorus bear the weight in the midsection and on the wind down but this track really sums up the flexibility that makes the Chilis so unique and way ahead of the other 80s punk rock acts still around today.

In the past I've tended to notice the last line of the RHCP albums as it tends to be the last testomonial that we hear for a few years and it does tend to be rather poignant...